The Guardian's Scores

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For 6,656 reviews, this publication has graded:
  • 41% higher than the average critic
  • 5% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 London Road
Lowest review score: 0 Melania
Score distribution:
  1. Positive: 2,521 out of 6656
  2. Mixed: 3,814 out of 6656
  3. Negative: 321 out of 6656
6656 movie reviews
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  1. Mountain Queen: The Summits of Lhakpa Sherpa
    This portrait of title subject Lhakpa Sherpa, the only woman to have summited Mount Everest 10 times, is so densely packed with uplifting moments that at times it feels like emotional mountaineering – but the climb has terrific views.
  2. Red Island
    It’s a compelling, visually exquisite piece of work.
  3. I Saw the TV Glow
    I Saw the TV Glow is claustrophobic, unwholesome and brilliant.
  4. The Fabulous Four
    As an inevitable plot twist leads to an inevitable showdown which leads to an inevitable makeup which leads to an inevitable, and unbearable, all-cast song-and-dance number, you’ll be left wondering how bringing together fabulous women has left us all feeling so utterly unfabulous.
  5. Deadpool & Wolverine
    Basically, Deadpool is quite right – he is Marvel Jesus, he is the guy elevated from the ranks here to be the heroic saviour, the wacky character who is going to make sense of the whole MCU business by repositioning it as gag material and keep the whole thing ticking over, perhaps until the MCU in its original fundamentally serious mode comes back into box office fashion. It’s amusing and exhausting.
  6. Coma
    There are stabs of the same fear and revelation that made The Beast so fascinating, but this is in the main unfocused and undisciplined, and the isolation of each character merely drains the film of oxygen.
  7. Memoir of a Snail
    There’s an ingenuousness and innocence to Memoir of a Snail, a family-entertainment approachability that belies a strange intensity.
  8. Find Me Falling
    While the story of an old flame coming alight again can be a very poignant one, especially with an older age attached, there’s very little here to move us; a crippling dearth of chemistry between two likable enough leads who are forced into thin, circumstantial conflicts and overdramatic reactions that feel unearned and at times baffling.
  9. My Spy: The Eternal City
    There are some nice enough performances, particularly from Ken Jeong as JJ’s CIA boss and Anna Faris playing the high school deputy principal leading the choir trip. But tonally the movie is all over the place.
  10. Janet Planet
    The film has sympathy and charm, although I can’t exactly share all the praise that’s been lavished on it. It unfolds in an indulgent, dreamy summer haze, halfway between rapture and torpor; a murmuring indie-stonewash of good taste.
  11. Skywalkers: A Love Story
    You get the impression they are only comfortable sharing their lives when they’re perched above where the rest of us live. But I’d be lying if I said I didn’t find them swoon-worthy, never mind the cryptocurrencies and branded partnerships circling their pursuits.
  12. Crossing
    There is a trio of excellent performances from Arabuli, Kankava and Dumanli: very good actors, very well directed, defining three personalities very different from each other in terms of age and attitude but bringing them together in a way that doesn’t feel forced.
  13. Thelma
    Squibb is however really good: no other casting is conceivable, and it is good to see her get the lead turn she deserves.
  14. Tyler Perry's Divorce in the Black
    It’s easily his worst film to date.
  15. Unicorns
    Co-directing Unicorns with James Krishna Floyd (the star of My Brother the Devil), who wrote the script, El Hosaini brings a streak of hopefulness to gritty social realism, with the added attraction of superstar drag queens.
  16. A Prince
    A Prince might reinterpret the pastoral through a queer lens, but the point of view remains a white, French one.
  17. Bushman
    This is stylish, energised new wave film-making.
  18. Sleep
    It is only with the explicit possibility of a supernatural explanation, combined with full-on psychiatric breakdown, that the movie loses its light touch and its plausible detail. Yet there’s always a hyper-vigilant twinge of fear.
  19. In a Violent Nature
    From a horror fan’s point of view, this is an absolutely fascinating experiment with form.
  20. Hundreds of Beavers
    The sheer sustained silliness of this spoof silent comedy is what finally compels admiration. It’s like chancing across a bunch of eerily gifted kids by the roadside putting on a bizarrely accomplished, very extended series of magic tricks and circus acrobatic stunts.
  21. The Commandant's Shadow
    Perhaps that final meeting in Lasker-Wallfisch’s front room does not offer closure. Nothing could. An amazing and dramatic historical tableau nonetheless.
  22. Eno
    You could almost call [Eno] a meta-artist. And this is his meta-documentary; it is not, ultimately, as radical as it purports to be, or as revealing as it could have been perhaps (some external viewpoints would have been welcome), but stimulating and cerebral all the same.
  23. Hounds
    The film is perhaps flawed by its ending, which loses a bit of narrative momentum and insists too strenuously on the metaphorical properties, but there is a tang of real evil in the story’s chaos and its final image.
  24. Longlegs
    This isn’t Perkins’ first shot but it’s his biggest swing and ultimately his clumsiest miss, a grab bag of ideas and tricks that can’t be coerced into anything resembling a whole.
  25. Twisters
    Twisters is a fun film with some big setpiece scenes, and Ramos and Powell make gallant admirers for Kate. I do think though that the movies still haven’t given Edgar-Jones – so excellent in TV’s Normal People – the well-written big-screen role she deserves. Some spectacular stormy weather, though.
  26. Fly Me to the Moon
    Here the romance and adventure of the actual Apollo 11 achievement are undermined for a smirking, tonally jarring non-laugh.
  27. Cash Out
    Chalk it up to an insufficiently distinctive screenplay and underwhelming plot, but for Travolta, Cash Out feels more like a mercenary case of cashing in.
  28. Space Cadet
    The uplift of a woman triumphing in a male-dominated Stem world isn’t enough to get us through a mess of grindingly unfunny dialogue, too-broad performances and an utter, movie-killing lack of charm.
  29. Kill
    Kill’s objectives are achieved with an energy and enthusiasm that make it a tasty piece of action cinema which doesn’t pull its punches; it’s finger-cracking good.
  30. Hollywoodgate
    While it would have been good to have Nash’at properly cross-examine these men, his film’s careful approach pays handsome dividends. Hollywoodate teases back a corner of the curtain to reveal a Taliban regime stitched awkwardly over the bones of US occupation. It shows us the soldiers pining for the caves where they once hid, and mourning the glorious death that has somehow been snatched from their grasp.
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